How to create epic 360 bullet time videos with some wood and a caster

Posted by on Apr 27, 2017 in Featured, Photography Tips

How to create epic 360 bullet time videos with some wood and a caster

Recently, we stumbled upon a video that was too good not to share. Made by Luca Amhofer, the video shows a 360-degree rig he made himself for shooting videos. The rig enables a filmmaker to place the subject in the center and rotate the camera around it. And unlike most creations of this kind, this […] The post How to create epic 360 bullet time videos with some wood and a caster appeared first on DIY Photography.        Share...

Read More »

Make your own DIY UV ring light for less than $20

Posted by on Apr 27, 2017 in Featured, Photography Tips

Make your own DIY UV ring light for less than $20

No matter if you’re a professional or just like to play and experiment with the camera, blacklight photography opens up tons of new possibilities. If you’d like to try it out without breaking the bank, this tutorial from Eva Landry will show you how to transform your regular ring light into a blacklight ring light. […] The post Make your own DIY UV ring light for less than $20 appeared first on DIY Photography.        Share...

Read More »

30 Years Of Canon EOS | A Timeline Of Innovation

Posted by on Apr 26, 2017 in Featured, Photography Tips

30 Years Of Canon EOS | A Timeline Of Innovation

On the heels of Nikon’s 100th anniversary and celebratory limited edition line of cameras came Canon EOS’ 30th birthday, and in recognition, Digital Camera Warehouse created a video timeline honoring EOS camera models, offering a visual history from the 1987 inception of Canon EOS cameras all the way to the most recent release at the time of this writing, the 77D. It’s interesting to see some of the earliest, oddly shaped digital iterations in the EOS family in comparison to the modern bodies and watch the progression chronologically. For any very early EOS adopters, this should be a nostalgic trip down memory lane. [REWIND:] CAMERA TECH EXPLAINED: CANON DUAL PIXEL AUTOFOCUS Noteworthy moments in the 30-year timeline In March 1987, Canon made their big introduction to today’s EF lenses and the EOS 650 was the camera to usher in the change from Canon’s former FD mount, though curiously Canon did introduce an FD mount camera in 1990, three years after the integration of EF glass which was to become the sole mount going forward. In May of 2000, Canon’s D30 (yes, like Nikon’s current naming format) became their first “house-made” APS-C DSLR with a 3.1-megapixel CMOS sensor. Earlier digital explorations had used rebranded Kodak sensors. November 2001 brought Canon’s first professional digital SLR camera, the EOS-1D, with a whopping 4.1 megapixels and an APS-H CCD sensor. It was ahead of its time with 8fps continuous shooting and possessed some notable features that haven’t been repeated since – an X-sync speed of 1/500 and a maximum shutter speed of 1/16000. September of 2002 brought a big release for Canon and the DSLR world in general – the EOS-1Ds was Canon’s first ever full-frame camera. For perspective, Nikon didn’t introduce a camera with a full-frame sensor until 2007’s D3. 2003 was the beginning of consumer DSLR cameras as we know them with the introduction of the first Digital Rebel, also known as the EOS-300D and Kiss Digital. If you’ve wondered how Canon captured the lion’s share of the DSLR market, this is where it all began. In February of 2005, Canon made its first of two modified DSLRs designated for astrophotography, the 20Da. It has a different IR filter specifically designed for astrophotography. It was discontinued in 2006 with no follow-up until 2012 when the 60Da was released. In August of 2005 Canon made a huge step toward modern DSLR technology with the introduction of the 5D, the first full frame camera with a “standard” body size – not the gigantic professional bodies. 2008 saw the introduction of DSLR video, pioneered by Nikon in their D90 which shot 720p HD. Canon followed by implementing DSLR video on a full-frame camera with 1080p capability, the 5D Mark II, announced late that same year. This is when DSLR video really got serious for professional purposes. The 35th season of Saturday Night Live had...

Read More »

A Pilot’s Timelapse Over 3 Continents With The Milky Way As A Backdrop | Sony A7s

Posted by on Apr 26, 2017 in Featured, Photography Tips

A Pilot’s Timelapse Over 3 Continents With The Milky Way As A Backdrop | Sony A7s

It’s unlikely that any of us will ever see travel through the heavens the way we’ve become accustomed from Star Trek, with the boundless expanse of space seemingly within reach. And nor will most of us ever experience the overview effect that astronauts feel after seeing our massive planet from a distance as a little blue marble. In fact, the closest any of us will come is through flight, and that still holds so much majesty to still be awe inspiring. The thing is, if you’re relegated to the main cabin of a 747 and not in the cockpit, you miss out on that effect too, which is precisely why we should be thankful for pilots like Sales Wick, who bring it to us via timelapse so we don’t let the best views in life pass us by. As a Senior First Officer of a Boeing triple7 (though it appears this route typically is an A340), armed with nothing more than an Sony A7s and Sony 35mm 1.4, Wick manages to turn the somewhat unforgiving environment of altitude and near-sound-barrier-speed into something somewhat whimsical and soothing. As we pass over cities, deserts and oceans, other aircraft pass by like spaceships with the Milky Way looming in the background. The flight from Zurich to Sao Paulo is a distance of about 6,000 miles. spanning 3 continents, but through the power of the jet engine and the magic of a camera we can consume it like a shot of tequila. The short timelapse shows us again that the jet engine has effectively turned this large planet, into a village, and the camera a teleportation device. While the video is by no means the most techincal execution of a timelapse, it succeeds where so many fail, and that’s to just be something unusual and beautiful in simplicity. Worth a watch. For once you have tasted flight you will walk the earth with your eyes turned skywards, for there you have been and there you will long to return. – Leonardo DaVinci Check out more from Wick on his site, BeyondClouds. Via: PetaPixel        Share...

Read More »

Light & Motion And Elinchrom Partner & Announce New Portable Continuous Lights – Stella Pro RF

Posted by on Apr 26, 2017 in Featured, Photography Tips

Light & Motion And Elinchrom Partner & Announce New Portable Continuous Lights – Stella Pro RF

When renowned video-light and photo light makers, Light & Motion and Elinchrom respectively commune for a strategic partnership, the creative audience-at-large has reason to be curious and excited. The excitement around the announcement was swiftly rewarded with the new Stella Pro 5000 RF and the Stella Pro 8000 RF continuous lights. Light & Motion’s Stella line comprises lighting solutions that are battery-powered, powerful, weather proof LEDs that are suitable for rugged use for video and stills photography, and the new offerings continue in that vein. The new Stella Pro RFs are portable, weatherproof and balanced at 5600 Kelvin. We know that it wasn’t long ago that Elinchrom opened its Skyport Protocol to those who wished to make use of it, and this partnership sees that added functionality in these lights. That means the new lights can be controlled wirelessly from the EL Remote that can control 20 cahnnels, 4 groups, and the entire spectrum of power output of the lights. The new remote is also able to control up to 20 lights at a range of up to 656’/ 200m outdoors and 197’/ 60m indoors. As per the press release, “This shared technology also potentially allows the Stella RF lights to be controlled by the new Speedmaster L858D-U with the Elinchrom/Phottix module and the Litemaster Pro L-478D-U-EL.” [RELATED: Editorial Bridal Party Portraits With The Profoto OCF Beauty Dish] In addition to singular light availability, the new lights will be offered in ‘Pro Kits’ that the company says are in response to popular demand.The new 5000 RF Action Kit and a Stella Pro RF 8000 Kit will be: Housed in a custom Tenba BYOB + Packlite Bundle, they will include the new Elinchrom EL Remote Control for Stella plus all of the necessary mounting accessories and light modifiers to help content creators take full advantage of this game-changing light, now with the ease of radio control. All three Stella Pro Kits from Light & Motion (125, 225 and 555) will now include the new Stella Pro 5000 RF and the new Elinchrom EL Remote Control for Stella. An all-new Stella 888 Pro RF Kit has also been added for people who need maximum output. In addition, a new custom rolling case has been created by Tenba to address the challenges professionals have working on set. Specifically, the new design allows easy access to the most essential equipment and the contrasting color interior lining speeds up location of small parts and accessories. In addition, a custom Tenba BYOB + Packlite bundle is also included in the updated Pro Kits, giving users a solution for when they need to travel fast and light. You can check out the current line of Stella Pro lights here. Pricing: Stella Pro 8000 RF (cat# 850-0388-A) – $2,199.99 Stella Pro 5000 RF (cat# 850-0387-A) – $1,999.99 Stella 5000 RF Action Kit (cat# 860-5000-K) – $1,999.99 Stella...

Read More »

DaVinci Resolve 14 Released As The Biggest Ever | 10x Faster & Only $299

Posted by on Apr 26, 2017 in Featured, Photography Tips

DaVinci Resolve 14 Released As The Biggest Ever | 10x Faster & Only $299

Following their very successful version 12.5, Blackmagic Design is almost ready to drop the finished version 14 of Resolve to editors and colorists alike. Their acquisition of Fairlight last year left everyone pondering what Blackmagic Design’s endgame was. Available for public beta, the latest from Blackmagic Design is setting its sights on Avid Pro Tools with a concentration on audio editing, sweetening, and mixing via Fairlight audio integration; making it a one-stop-shop application to edit, grade and audio mix for your project. [REWIND: TOP ALTERNATIVES FOR ADOBE CREATIVE SUITE] At Blackmagic’s NAB press conference, CEO Grant Petty took on Pro Tools when he explained Blackmagic’s new audio integration: We didn’t feel there was any audio for the film and television industry…There are fantastic tools, but they’re music industry tools…We felt that was the big problem to solve – we didn’t want to have to export our project out, send it out over to a music industry guy, and then bring it back. Petty went on to note that his remarks were not meant to be derogatory, just expressing disappointment in a native post-production environment to handle audio for film and TV. Fairlight is famous for being used in the world’s highest-end studios for audio in film and television, as well as known for both its superior sound quality and its speed. Resolve users get a massive set of professional audio tools for recording, editing and sweetening, professional bussing, mixing and routing, and multi-format mastering to 3D audio formats such as 5.1, 7.1, Dolby and even 22.2. Blackmagic is calling this version of resolve “the biggest release in the history of the product,” and aims to encourage filmmakers and post-production professionals to be able to work together all in one environment. Here’s a quick breakdown of what they have announced so far: Multitrack timeline for subframe editing of audio, down to sample level Work with up to 1,000 tracks with Fairlight Audio Accelerator Card Without accelerator card, up to 60 tracks in real time Mixer with several main, sub and aux buses for mastering and delivering Every channel features real time 6 band parametric EQ Clip time warping without shifting pitch Parameter automation Monitoring can handle buses up to 24 channels wide Monitoring on up to 16 different sets of speakers Better threading and CPU pipelining Lower Latency Faster UI refresh rates Support for Apple Metal New slip and slide trim commands for editors For colorists, 20 new Resolve FX filters Of note too is the new bin, clip and timeline locking lets users safely work on a specific part of the project without overwriting each other. This dramatically changes post-production from a linear to a parallel workflow so everyone can work at the same time, giving editors, colorists and audio engineers more time to be creative. There’s also a built-in secure chat client that lets team members talk to...

Read More »